D. Elena, let's start from the influences in your work. You quote Cosme Tura and Albrecht Duerer. In some way, is it possible to speak also of an influence of gloomy victiorian age illustrations, suchs as those of Sir John Tenniel for Alice in Wonderland?

R. Of course. Victorian age artists used to envision lisergic and obsessive worlds. I feel attracted to all this, and I particularly like Tenniel's drawings for "Alice" which bear a stronf formal resemblance to contemporary illustrations. I studied Alice also from a narrative point of view, and I focused mainly on Lewis Carrol's own drawings. He did them for "Alice Underground", which came earlier than "Alice in Wonderland". Those drawings are hard and deeply moving. Cosme Tura and Durer are unavoidable geniuses, but they are not so close to what I do.

D. And your rabbits? Durer again, or The White Rabbit,  or is it more something of a personal icon?

R. In this case I derived more from two other great makers of absurd worlds: Bruegel the Elder and Bosch... The antropomorph characterization of humanity happens in the very instant when you look at people. It's fun

D. I made a quick reference list of your themes. Let's see: disease, eating disorders, death wishes, fetal regressions, hybrids, traumas about the awareness of inner body parts. All this, it seems, is more “staged” than analysed in your works. Is painting for you a kind of therapy?

R. No, no therapy. But one can't avoid to reflect the events of one's own life into her work. All of the items in your list are some sort of possible way to filter reality. It's a matter of perspective. Since I'm not a conceptual artist, I tend to describe what I see, and the fascinations of the real world… and I'm thinking of David Lynch.

D. You experimented with several techniques. Do you consider yourself as still in search of your voice - on a formal level I mean - or do you think you have found your way?

R. Research lies at the root of quality. No work can be completede if ther is no constant, sperimental and everyday research behind it. The art market not always allows for this research to go question the need to be recognizable, but this in itsefl does not mean everyone has to accept this condition. I am convinced that everyone who creates sometihgn should go deeper and deeper, without depending too much on money.

D. WOuld you like to tell us about “Meringhe Rosa”?

R. “Meringhe Rosa | Twelve diabetic meetings” is a happening containing several artistic ways of expressions. It all began in 2006 in the town where I live, Cartoceto. It aims to question the motives of relationships between individuals. Featured artists are friends, and the help a lot. The team changes each time according to the schdule, and each year some new young artists are invitedi.
Everybody collaborates in order to make posisble to keep the event at a low-budget level. And so we rely a lot on word of mouth, but since this year we are part of our regional network of contemporary art. so we expect to have more people and more public.

D. What are you working on right now?

R. I am working on a project for the “Schizzo” books, edited by Luca Scornaienchi, and scheduled for publication in  2009.

9 July 2008